Folklore as a special kind of art is a qualitatively unique component of fiction. It integrates the culture of the society of a certain ethnicity at a special stage in the historical development of society.
Folklore is ambiguous: it manifests both boundless folk wisdom, and folk conservatism, inertia. In any case, folklore embodies the highest spiritual forces of the people, reflects the elements of the national artistic consciousness.
The term "folklore" itself (from the English word folklore - folk wisdom) is a common name for folk art in international scientific terminology. The term was first introduced in 1846 by the English archaeologist W. J. Thomson. As an official scientific concept, it was first adopted by the English Folklore Society, founded in 1878. In 1800-1990, the term entered into scientific use in many countries of the world.
Folklore (English folklore - "folk wisdom") - folk art, most often it is oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry created by the people and existing among the masses of the people (tradition, songs, ditties, anecdotes, fairy tales, epic), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, visual and arts and crafts.
Folklore is creativity that does not require any material and where the person himself is the means of embodying the artistic concept. Folklore has a clearly expressed didactic orientation. Much of it was created specifically for children and was dictated by the great people's concern for young people - their future. "Folklore" serves the child from his very birth.
Folk poetry reveals the most significant connections and patterns of life, leaving aside the individual, the special. Folklore gives them the most important and simple concepts about life and people. It reflects the general interest and the vital, what affects everyone and everyone: the work of a person, his relationship with nature, life in a team.
The value of folklore as an important part in education and development in the modern world is well known and generally recognized. Folklore always responds sensitively to people's requests, being a reflection of the collective mind, accumulated life experience.
The main features and properties of folklore:
1. Bifunctionality. Each folklore work is an organic part of human life and is conditioned by practical purpose. It is focused on a certain moment of people's life. For example, a lullaby - it is sung to soothe, lull a child to sleep. When the child falls asleep, the song stops - it is no longer needed. This is how the aesthetic, spiritual and practical function of the lullaby is manifested. Everything is interconnected in the work, beauty cannot be separated from benefit, benefit from beauty.
2.Polyelement. Folklore is polyelemental, since its internal diversity and numerous interconnections of an artistic, cultural-historical and socio-cultural nature are obvious.
Not every folklore work includes all artistic and figurative elements. There are also genres in which their minimum number. The performance of a folklore work is the integrity of a creative act. Among the many artistic and figurative elements of folklore, they are distinguished as the main verbal, musical, dance and mimic. Polyelementity is manifested during the event, for example, “Burn, burn clearly so that it does not go out!” or when studying a round dance - the game "Boyars", where row-by-row movements occur. In this game, all the main artistic and figurative elements interact. Verbal and musical are manifested in the musical and poetic genre of the song, performed simultaneously with the choreographic movement (dance element). This manifests the polyelement nature of folklore, its original synthesis, called syncretism. Syncretism characterizes the interconnection, integrity of the internal components and properties of folklore.
3. Collectivity. Absence of the author. Collectivity is manifested both in the process of creating a work and in the nature of the content, which always objectively reflects the psychology of many people. Asking who wrote a folk song is like asking who wrote the language we speak. Collectivity is due to the performance of folklore works. Lead some components of their forms, for example, the chorus, require the mandatory inclusion in the performance of all participants in the action.
4. Lack of writing. Orality in the transmission of folklore material is manifested in the absence of writing in the forms of transmission of folklore information. Artistic images and skills are transmitted from the performer, the artist to the listener and viewer, from the master to the student. Folklore is oral art. It lives only in the memory of people and is transmitted in a live performance "by word of mouth". Artistic images and skills are transmitted from the performer, the artist to the listener and viewer, from the master to the student.
5. Tradition. The variety of creative manifestations in folklore only outwardly seems spontaneous. Over a long period of time, objective ideals of creativity have evolved. These ideals became those practical and aesthetic standards, deviations from which would be inappropriate.
6.Variability. Variation of the network is one of the incentives for constant movement, "breathing" of a folklore work, and each folklore work is always, as it were, a variant of itself. The folklore text turns out to be unfinished, open to each subsequent performer. For example, in the round dance game "Boyars", children move "row by row", and the step may be different. In some places it is a regular step with an accent on the last syllable of the line, in others it is a step with a footstep on the last two syllables, in the third place it is a variable step. It is important to convey to consciousness the idea that in a folklore work creation-performance and performance-creation coexist. Variability can be considered as the variability of works of art, their uniqueness when performed or in another form of reproduction. Each author or performer supplemented traditional images or works with his own reading or vision.
7. Improvisation is a feature of folk art. Each new performance of the work is enriched with new elements (textual, methodical, rhythmic, dynamic, harmonic). brought by the performer. Any performer constantly introduces his own material into a well-known work, which contributes to the constant development, change of the work, during which the reference artistic image crystallizes. Thus, the folklore performance becomes the result of many years of collective creativity.
In modern literature, the broad interpretation of folklore as a combination of folk traditions, customs, views, beliefs, and arts is common.
In particular, the famous folklorist V.E. Gusev in the book "Aesthetics of Folklore" considers this concept as an artistic reflection of reality, carried out in verbal - musical, choreographic and dramatic forms of collective folk art, expressing the worldview of the working masses and inextricably linked with life and life. Folklore is a complex, synthetic art. Often in his works elements of various types of arts are combined - verbal, musical, theatrical. It is studied by various sciences - history, psychology, sociology, ethnography. It is closely connected with folk life and rituals. It is no coincidence that the first Russian scholars took a broad approach to folklore, recording not only works of verbal art, but also recording various ethnographic details and the realities of peasant life.
The main aspects of the content of folk culture include: the worldview of the people, folk experience, housing, costume, work, leisure, crafts, family relations, folk holidays and rituals, knowledge and skills, artistic creativity. It should be noted that, like any other social phenomenon, folk culture has specific features, among which it is worth highlighting: an inextricable connection with nature, with the environment; openness, educational nature of the folk culture of Russia, the ability to contact with the culture of other peoples, dialogue, originality, integrity, situationality, the presence of a purposeful emotional charge, the preservation of elements of pagan and Orthodox culture.
Traditions and folklore are wealth developed by generations and conveying historical experience and cultural heritage in an emotionally figurative form. In the cultural and creative conscious activity of the broad masses, folk traditions, folklore and artistic modernity merge in a single channel.
The main functions of folklore include religious - mythological, ritual, ritual, artistic - aesthetic, pedagogical, communicative - informational, social - psychological.
Folklore is very diverse. There is traditional, modern, peasant and urban folklore.
Traditional folklore is those forms and mechanisms of artistic culture that are preserved, fixed and transmitted from generation to generation. They capture universal aesthetic values that retain their significance outside of concrete - historical social changes.
Traditional folklore is divided into two groups - ritual and non-ritual.
Ritual folklore includes:
calendar folklore (carols, carnival songs, stoneflies);
family folklore (wedding, maternity, funeral rites, lullabies, etc.),
occasional folklore (charms, incantations, incantations).
Non-ritual folklore is divided into four groups:
Folklore of speech situations (proverbs, sayings, riddles, teasers, nicknames, curses);
Poetry (chastushkas, songs);
· folklore drama (Petrushka theatre, crib drama);
prose.
Folklore poetry includes: epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetry parodies), sadistic rhymes. Folklore prose is again divided into two groups: fabulous and non-fabulous. Fairy tale prose includes: a fairy tale (which, in turn, is of four types: a fairy tale, a fairy tale about animals, a household fairy tale, a cumulative fairy tale) and an anecdote. Non-fairytale prose includes: tradition, legend, bylichka, mythological story, dream story. The folklore of speech situations includes: proverbs, sayings, good wishes, curses, nicknames, teasers, dialogue graffiti, riddles, tongue twisters and some others. There are also written forms of folklore, such as chain letters, graffiti, albums (for example, song books).
Ritual folklore is folklore genres performed within the framework of various rituals. The most successful, in my opinion, was the definition of the rite by D.M. Ugrinovich: “A rite is a certain way of transferring certain ideas, norms of behavior, values and feelings to new generations. The rite is distinguished from other ways of such transmission by its symbolic nature. This is its specificity. Ritual actions always act as symbols that embody certain social ideas, ideas, images and evoke corresponding feelings. The works of calendar folklore are timed to coincide with the folk annual holidays, which had an agricultural character.
Calendar rituals were accompanied by special songs: carols, Shrovetide songs, stoneflies, Semitsky songs, etc.
Vesnyanki (spring calls) are ritual songs of an incantatory nature that accompany the Slavic rite of calling spring.
Carols are New Year's songs. They were performed during Christmas time (from December 24 to January 6), when caroling was going on. Caroling - walking around the yards with carol songs. For these songs, carolers were rewarded with gifts - a festive treat. The main meaning of the carol is magnificence. Carolers give an ideal description of the house of the magnified. It turns out that before us is not an ordinary peasant hut, but a tower, around which “there is an iron tyn”, “on each stamen there is a dome”, and on each dome “a golden crown”. Match this tower and the people living in it. Pictures of wealth are not reality, but the desired: carols perform to some extent the functions of a magic spell.
Maslenitsa is a folk holiday cycle that has been preserved among the Slavs since pagan times. The rite is associated with the farewell to winter and the meeting of spring, which lasts a whole week. The celebration was carried out according to a strict schedule, which was reflected in the names of the days of the Pancake week: Monday - "meeting", Tuesday - "flirty", Wednesday - "gourmet", Thursday - "revelry", Friday - "mother-in-law evening", Saturday - "sister-in-law gatherings ”, Sunday - “seeing off”, the end of the Maslenitsa fun.
Few Shrovetide songs have come down. By subject and purpose, they are divided into two groups: one is associated with the rite of meeting, the other - with the rite of farewell ("funeral") Maslenitsa. The songs of the first group are distinguished by a major, cheerful character. This is, first of all, a majestic song in honor of Maslenitsa. The songs accompanying the farewell to Maslenitsa have a minor key. The “funeral” of Maslenitsa meant seeing off winter and a spell, a greeting for the coming spring.
Family rituals are predetermined by the cycle of human life. They are divided into maternity, wedding, recruiting and funeral.
Birthing rites sought to protect the newborn from hostile mystical forces, and also assumed the well-being of the infant in life. A ritual washing of a newborn was performed, health was spoken of by various sentences.
Wedding ceremony. It is a kind of folk performance, where all the roles are painted and there are even directors - a matchmaker or a matchmaker. The special scale and significance of this rite should show the significance of the event, play the meaning of the ongoing change in a person's life.
The rite educates the behavior of the bride in the future married life and educates all the participants of the rite present. It shows the patriarchal nature of family life, its way of life.
Funeral rites. During the funeral, various rituals were performed, which were accompanied by special funeral lamentations. Funeral lamentations truthfully reflected life, everyday consciousness of the peasant, love for the deceased and fear of the future, the tragic situation of the family in harsh conditions.
Occasional folklore (from lat. occasionalis - random) - does not correspond to generally accepted use, is of an individual character.
A variety of occasional folklore are conspiracies.
SPELLS - a folk-poetic incantatory verbal formula to which magical power is attributed.
CHALLENGES - an appeal to the sun and other natural phenomena, as well as to animals and especially often to birds, which were considered messengers of spring. Moreover, the forces of nature were revered as living: they turn to spring with requests, wish it to come soon, complain about the winter, complain.
COUNTERS - a type of children's creativity, small poetic texts with a clear rhyme-rhythmic structure in a playful form.
Genres of non-ritual folklore evolved under the influence of syncretism.
It includes the folklore of speech situations: proverbs, fables, omens and sayings. They contain a person's judgments about the way of life, about work, about higher natural forces, statements about human affairs. This is a vast area of moral assessments and judgments, how to live, how to raise children, how to honor ancestors, thoughts about the need to follow precepts and examples, these are everyday rules of behavior. In a word, their functionality covers almost all ideological areas.
MYSTERY - works with a hidden meaning. They have a rich fiction, wit, poetry, figurative structure of colloquial speech. The people themselves aptly identified the riddle: "Without a face in a disguise." The subject that is conceived, the “face”, is hidden under the “mask” - allegory or allusion, roundabout speech, bluff. No matter how many riddles are invented to test attention, ingenuity, quick wits. Some consist of a simple question, others look like puzzles. It is easy to solve riddles for those who have a good idea of the objects and phenomena in question, and also know how to unravel the hidden meaning in words. If a child looks at the world around him with attentive, keen eyes, noticing its beauty and richness, then every tricky question and every allegory in a riddle will be solved.
PROVERB - as a genre, unlike a riddle, it is not an allegory. In it, a certain action or deed is given an expanded meaning. In their form, folk riddles adjoin proverbs: the same measured, folded speech, the same frequent use of rhyme and consonance of words. But the proverb and the riddle differ in that the riddle must be guessed, and the proverb is a lesson.
Unlike a proverb, a SAYING is not a complete judgment. This is a figurative expression used in an extended sense.
Sayings, like proverbs, remain living folklore genres: they are constantly found in our everyday speech. The prepositions contain a capacious playful definition of the inhabitants of a locality, city, living in the neighborhood or somewhere far away.
Folklore poetry is epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs.
BYLINA is a folklore epic song, a genre characteristic of the Russian tradition. Such epics as "Sadko", "Ilya Muromets and the Nightingale the Robber", "Volga and Mikula Selyaninovich" and others are known. The term "epic" was introduced into scientific use in the 40s of the 19th century. folklorist I.P. Sakharov. The basis of the epic plot is some heroic event, or a remarkable episode of Russian history (hence the popular name of the epic - "old", "old", implying that the action in question took place in the past).
FOLK SONGS are very diverse in their composition. In addition to songs that are part of the calendar, wedding and funeral rites. These are round dances. Game and dance songs. A large group of songs are lyrical non-ritual songs (love, family, Cossack, soldier, coachman, robber and others).
A special genre of songwriting is historical songs. Such songs tell about the famous events of Russian history. The heroes of historical songs are real personalities.
Round dance songs, like ritual ones, had a magical meaning. Round dance and game songs depicted scenes from the wedding ceremony and family life.
LYRICAL SONGS are folk songs that express the personal feelings and moods of the singers. Lyrical songs are original both in content and in artistic form. Their originality is determined by genre nature and specific conditions of origin and development. Here we are dealing with a lyrical kind of poetry, different from epic in terms of the principles of reflecting reality. ON THE. Dobrolyubov wrote that in folk lyrical songs "an inner feeling is expressed, excited by the phenomena of ordinary life", and N.A. Radishchev saw in them a reflection of the people's soul, spiritual grief.
Lyrical songs are a vivid example of the artistic creativity of the people. They introduced a special artistic language and samples of high poetry into the national culture, reflected the spiritual beauty, ideals and aspirations of the people, the moral foundations of peasant life.
Chastushki is one of the youngest folklore genres. These are small rhyming poems. The first ditties were excerpts from songs of a large size. Chastushka is a comic genre. It contains a sharp thought, apt observation. Topics are varied. Chastushki often ridiculed what seemed wild, ridiculous, nasty.
CHILDREN'S FOLKLORE is commonly referred to as works that are performed by adults for children, as well as those composed by the children themselves. Lullabies, pestles, nursery rhymes, tongue twisters and incantations, teasers, rhymes, absurdities, etc. belong to children's folklore. Modern children's folklore has been enriched with new genres. These are horror stories, mischievous rhymes and songs (funny alterations of famous songs and poems), anecdotes.
There are various connections between folklore and literature. First of all, literature has its origins in folklore. The main genres of drama that developed in ancient Greece - tragedies and comedies - date back to religious rites. Medieval chivalric romances, which tell about travels through fictional lands, fights with monsters and the love of brave warriors, are based on fairy tales. Literary lyric works originate from folk lyric songs. The genre of a small action-packed narrative - a short story - goes back to folk everyday tales.
Very often, writers deliberately turned to folklore traditions. Interest in oral folk art, fascination with folklore awakened in the pre-romantic and romantic eras.
The tales of A.S. Pushkin go back to the plots of Russian fairy tales. Imitation of Russian folk historical songs - "Song about Tsar Ivan Vasilievich ..." by M.Yu. Lermontov. N.A. Nekrasov recreated the style features of folk songs in his poems about the hard peasant lot.
Folklore not only influences literature, but is itself affected in the opposite way. Many author's poems have become folk songs. The most famous example is the poem by I.Z. Surikov “Steppe and steppe all around ..”
folklore drama. It includes: Petrushka theatre, religious drama, crib drama.
Nativity scene drama got its name from a nativity scene - a portable puppet theater that has the shape of a two-story wooden box, resembling a stage platform for the performance of medieval mysteries in architecture. In turn, the name, which came from the plot of the main play, in which the action developed in a cave - a nativity scene. The theater of this type was widespread in Western Europe, and it came to Russia with itinerant puppeteers from Ukraine and Belarus. The repertoire consisted of plays of religious themes and satirical skits - interludes, which had an improvisational character. The most popular play is King Herod.
PETRUSHKA THEATER – glove puppet theatre. The main character of the play is a resilient Petrushka with a big nose, protruding chin, with a cap on his head, with the participation of which a number of scenes are played out with various characters. The number of characters reached fifty, these are such characters as a soldier, a gentleman, a gypsy, a bride, a doctor and others. Such performances used the techniques of folk comic speech, lively dialogues with a play on words and contrasts, with elements of self-praise, with the use of action and gestures.
The Petrushki Theater was created not only under the influence of Russian, Slavic, Western European puppet traditions. It was a kind of folk theatrical culture, part of the extremely developed in Russia (spectacular folklore). Therefore, a lot of things unite it with folk drama, with performances of farce grandfathers-barkers, with sentences of friends at a wedding, with amusing popular prints, with jokes of raeshniks, etc.
The special atmosphere of the city's festive square explains, for example, Petrushka's familiarity, his unbridled gaiety and promiscuity as an object of ridicule and shame. After all, Petrushka beats not only class enemies, but everyone in a row - from his own bride to the quarter, often beats for no reason at all (Arapa, a beggar old woman, a German clown, etc.), in the end he hits him too: the dog is merciless pats him on the nose. The puppeteer, as well as other participants in the fair, square fun, is attracted by the very opportunity to ridicule, parody, bludgeon, and the more, louder, unexpected, sharper, the better. Elements of social protest, satire were very successfully and naturally superimposed on this ancient comic base.
Like all folklore amusements, "Petrushka" is stuffed with obscenities and curses. The primordial meaning of these elements has been studied quite fully, and how deeply they penetrated into the folk culture of laughter and what place swearing, verbal obscenity and degrading, cynical gestures occupied in it, is fully shown by M.M. Bakhtin.
Performances were shown several times a day in different conditions (at fairs, in front of the booth, on the streets of the city, in the suburbs). "Walking" Petrushka was the most common use of the doll.
A light screen, puppets, miniature backstage and a curtain were specially made for the mobile folklore theater. Petrushka ran around the stage, his gestures and movements created the appearance of a living person.
The comic effect of the episodes was achieved by techniques typical of folk culture of laughter: fights, beatings, obscenities, imaginary deafness of the partner, funny movements and gestures, mocking, fun funerals, etc.
There are conflicting opinions about the reasons for the extraordinary popularity of the theater: topicality, satirical and social orientation, comic character, a simple and understandable game for all segments of the population, the charm of the main character, acting improvisation, freedom of choice of material, the puppet's sharp language.
Parsley is a folk holiday fun.
Parsley is a manifestation of popular optimism, the mockery of the poor over the powerful and the rich.
Folklore prose. It is divided into two groups: fabulous (fairy tale, anecdote) and non-fairytale (legend, tradition, bylichka).
FAIRY TALE is the most famous genre of folklore. This is a kind of folklore prose, the hallmark of which is fiction. Plots, events and characters are fictional in fairy tales. The modern reader of folklore discovers fiction in other genres of oral folk art. Folk storytellers and listeners believed in the truth of the bylichki (the name comes from the word "truth" - "truth"); the word "epic" was invented by folklorists; the people called epics "old times". Russian peasants, who said and listened to epics, believing in their truth, believed that the events depicted in them took place a long time ago - in the time of mighty heroes and fire-breathing snakes. They did not believe in fairy tales, knowing that they tell about something that did not exist, does not exist, and cannot exist.
It is customary to distinguish four types of fairy tales: fairy tales, household (otherwise - novelistic), cumulative (otherwise - "chain-like") and fairy tales about animals.
MAGIC FAIRY TALES differ from other fairy tales in a complex, detailed plot, which consists of a number of unchanging motifs that necessarily follow each other in a certain order. These are fantastic creatures (for example, Koschei the Immortal or Baba Yaga), and an animated, human-like character denoting winter (Morozko), and wonderful objects (self-assembled tablecloth, walking boots, flying carpet, etc.).
In fairy tales, the memory of performances and rituals that existed in deep, deep antiquity is preserved. They reflect the ancient relationships between people in a family or clan.
HOUSEHOLD TALES tell about people, about their family life, about the relationship between the owner and the farmhand, the master and the peasant, the peasant and the priest, the soldier and the priest. A commoner - a laborer, a peasant who has returned from the service of a soldier - is always smarter than a priest or a landowner, from whom, thanks to cunning, he takes away money, things, and sometimes his wife. Usually, in the center of the plots of everyday fairy tales, there is some unexpected event, an unforeseen turning point that occurs due to the cunning of the hero.
Household tales are often satirical. They ridicule the greed and stupidity of those in power. They do not tell about miraculous things and travels to the Far Far Away kingdom, but about things from peasant everyday life. But household tales are no more believable than fairy tales. Therefore, the description of wild, immoral, terrible acts in everyday fairy tales does not cause disgust or indignation, but cheerful laughter. After all, this is not life, but fiction.
Household fairy tales are a much younger genre than other varieties of fairy tales. In modern folklore, the heir to this genre is an anecdote (from gr.anekdotos - “unpublished”
CUMULATIVE TALES built on repeated repetition of the same actions or events. In cumulative (from Latin Cumulatio - accumulation) fairy tales, several plot principles are distinguished: the accumulation of characters in order to achieve the necessary goal; a heap of actions ending in disaster; a chain of human or animal bodies; forcing episodes, defiantly unjustified experiences of the characters.
The accumulation of heroes helping in some important action is evident in the fairy tale "Turnip".
Cumulative fairy tales are a very ancient kind of fairy tales. They have not been studied enough.
In TALES ABOUT ANIMALS, the memory of ancient ideas has been preserved, according to which people descended from ancestors - animals. Animals in these tales behave like people. Cunning and cunning animals deceive others - gullible and stupid, and this trickery is never condemned. The plots of fairy tales about animals are reminiscent of mythological stories about heroes - rogues and their tricks.
Fairy-tale prose is stories and incidents from life that tell about a person’s meeting with characters of Russian demonology - sorcerers, witches, mermaids, etc. This also includes stories about saints, shrines and miracles - about the communication of a person who has accepted the Christian faith, with powers of a higher order.
BYLICHKA - a folklore genre, a story about a miraculous event that allegedly happened in reality - mainly about a meeting with spirits, "evil spirits".
LEGEND (from Latin legenda “reading”, “readable”) is one of the varieties of non-fairytale prose folklore. Written tradition about some historical events or personalities. Legend is an approximate synonym for the concept of myth; an epic story about what happened in time immemorial; the main characters of the story are usually heroes in the full sense of the word, often gods and other supernatural forces are directly involved in the events. The events in the legend are often exaggerated, a lot of fiction is added. Therefore, scientists do not consider the legends to be completely reliable historical evidence, without denying, however, that most of the legends are based on real events. In a figurative sense, legends refer to glorious, admirable events of the past, depicted in fairy tales, stories, etc. As a rule, they contain additional religious or social pathos.
The legends contain memories of the events of antiquity, an explanation of some phenomenon, name or custom.
The words of Odoevsky V.F. sound surprisingly relevant. remarkable Russian, thinker, musician: “We must not forget that from an unnatural life, that is, one where human needs are not satisfied, a painful state occurs ... in the same way, idiocy can occur from the inaction of thought ..., - a muscle is paralyzed from an abnormal state of the nerve, - in the same way, the lack of thinking distorts the artistic feeling, and the absence of an artistic feeling paralyzes thought. At Odoevsky V.F. one can find thoughts about the aesthetic education of children on the basis of folklore, consonant with what we would like to bring to life today in the field of children's education and upbringing: “... in the field of human spiritual activity, I will limit myself to the following remark: the soul expresses itself either through body movements, , colors, or through a series of sounds that form singing or playing a musical instrument "
Folklore is oral folk art. Fairy tales, proverbs and sayings reflected the wisdom of the people, the experience accumulated over the centuries, ideas about the structure of the world, and the practical experience of the peasants. Folklore works are still popular, you can often see folk dances, hear songs. Children enjoy reading Russian folk tales. Unfortunately, in the 21st century, not all genres of folklore are known, many are completely forgotten.
1) Problem. Earlier in Rus' there were many genres of small, or children's, folklore. Only riddles, proverbs, sayings and tongue twisters have survived to this day. And what other genres of small folklore are there? Let's try to answer this question.
2) Purpose. Find examples of different small genres of folklore
3) Tasks:
Ask classmates what genres of folklore they know, write down examples.
Find examples in the literature.
Find a definition for each genre.
4) Methods: survey, observation, search.
The object of study is the genres of Russian folklore.
The subject of study is small genres of folklore.
SMALL GENRES OF FOLKLORE
Small genres of folklore These are small pieces of folklore. In some works there is a definition children's folklore, since such folk works enter a person's life very early, long before mastering speech.
Types of small genres of folklore
Lullaby- one of the oldest genres of folklore, as evidenced by the fact that it retained elements of a conspiracy-amulet. People believed that a person is surrounded by mysterious hostile forces, and if a child sees something bad, terrible in a dream, then this will not happen again in reality. That is why in the lullaby you can find the "gray top" and other frightening characters. Later, lullabies lost their magical elements and acquired the meaning of a good wish for the future. So, a lullaby is a song with which a child is lulled to sleep. Since the song was accompanied by the rhythmic swaying of the child, the rhythm is very important in it.
cockle(from the word to nurture, that is, to nurse, groom) - a short poetic chant of nannies and mothers, with which they accompany the actions of the child, which he performs at the very beginning of his life. For example, when the child wakes up, the mother strokes, caresses him, saying:
Stretches, stretchers,
Across the plump
And in the hands of fatyushki,
And in the mouth of talkers,
And in the head of the mind.
When a child begins to learn to walk, they say:
Big feet
We walked along the road:
Top, top, top
Top, top, top.
small feet
Run along the path:
Top, top, top, top
Top, top, top, top!
nursery rhyme- an element of pedagogy, a sentence song that accompanies the game with the fingers, arms and legs of the child. Nursery rhymes, like pestles, accompany the development of children. Small rhymes and songs allow in a playful way to encourage the child to act, while doing massage, physical exercises, stimulating motor reflexes. In this genre of children's folklore, incentives are laid for playing the plot with the help of fingers (finger games or Ladushki), hands, and facial expressions. Nursery rhymes help to instill in the child the skills of hygiene, order, develop fine motor skills and the emotional sphere.
Examples
|
"Magpie" magpie crow, (running finger over palm) |
"Magpie"(option featured in the cartoon "Mouse Song"): magpie-crow |
"Okay" (clap hands on stressed syllables) Okay, okay, where have you been? By Grandma! |
joke(from bayat, that is, to tell) - a poetic, short, funny story that a mother tells her child, for example:
Owl, owl, owl,
Big head,
I sat on a stake
looked to the side,
Turned her head.
Proverbs teach something.
Road spoon to dinner.
To be afraid of a wolf, do not go into the forest.
Birds of a feather flock together.
You can't even pull a fish out of a pond without difficulty.
Fear has big eyes.
The eyes are afraid, but the hands are doing.
A rolling stone gathers no moss.
A treasure is not needed if the family is in harmony.
Don't have 100 rubles, but have 100 friends.
An old friend is better than two new ones.
A friend in need is a friend indeed.
If I knew where you would fall, I would lay straws.
You lay softly, but sleep hard.
Motherland is a mother, know how to stand up for her.
Seven do not wait for one.
If you chase two hares, you won't catch one.
The bee is small, but it works.
Bread is the head of everything.
Being a guest is good, but being at home is better.
Games
There were special songs for the games. Games could be:
kissing. As a rule, these games were played at parties and gatherings (usually ended with a kiss between a young guy and a girl);
ritual. Such games were characteristic of some kind of ritual, holiday. For example, carnival festivities (characteristic fun: removing a prize from the top of a pillar, tug of war, competitions for agility, strength);
seasonal. Especially common among children, especially in winter. They played the so-called "Warmers": the leader shows any movements, and everyone else repeats. Or traditional "gates" and "brook".
Kissing game example:
Drake drove the duck,
Young sulfur drove
Go, Duck, go home,
Go home gray
Duck seven children
And the eighth Drake,
And the ninth herself,
Kiss me once!
In this game, "Duck" stood in the center of the circle, and "Drake" outside, and played like a game of "cat and mouse." At the same time, those standing in a round dance tried not to let the “drake” into the circle.
invocations- one of the types of exclamatory songs of pagan origin. They reflect the interests and ideas of the peasants about the economy and the family. For example, a rich harvest spell runs through all calendar songs; for themselves, children and adults asked for health, happiness, wealth.
The invocations are an appeal to the sun, rainbow, rain and other natural phenomena, as well as to animals and especially often to birds, which were considered the messengers of spring. Moreover, the forces of nature were revered as living: they turn to spring with requests, wish it to come soon, complain about the winter, complain.
Larks, larks!
Fly to us
Bring us a warm summer
Take the cold winter away from us.
We are tired of the cold winter
Hands, feet frostbitten.
Rhythm- a small rhyme, a form of drawing of lots, with the help of which it is determined who drives in the game. The counting room is an element of the game that helps to establish agreement and respect for the accepted rules. In organizing a counting rhyme, rhythm is very important.
Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Aty-baty, what did you buy?
Aty-baty, samovar.
Aty-baty, how much does it cost?
Aty-baty, three rubles
Aty-baty, what is he like?
Aty-baty, golden.
Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Aty-baty, what did you buy?
Aty-baty, samovar.
Aty-baty, how much does it cost?
Aty-baty, three rubles.
Aty-baty, who's coming out?
Aty-baty, it's me!
Patter- a phrase built on a combination of sounds that make it difficult to quickly pronounce words. Tongue twisters are also called "pure tongue twisters" because they contribute to and can be used to develop diction. Tongue twisters are both rhyming and non-rhyming.
Greek rode across the river.
He sees a Greek: there is cancer in the river,
He put his Greek hand into the river -
Cancer for the hand of the Greek - DAC!
The bull is stupid, the bull is stupid, the bull's lip was white and dull.
From the clatter of hooves, dust flies across the field.
Mystery, like a proverb, is a brief figurative definition of an object or phenomenon, but unlike a proverb, it gives this definition in an allegorical, deliberately obscured form. As a rule, in a riddle one object is described through another based on similar features: “A pear is hanging - you can’t eat it” (lamp). The riddle can also be a simple description of the object, for example: “Two ends, two rings, and in the middle there are carnations” (scissors). This is both folk fun and a test of ingenuity and ingenuity.
The role of riddles and jokes was also played by fables-shifters, which for adults appear as absurdities, but for children - funny stories about what does not happen, for example:
Because of the forest, because of the mountains Grandpa Egor is riding. He is on a gray wagon, On a creaking horse, Belted with an ax handle, A belt is plugged into his belt, Boots are wide open, A zipun is on his bare feet.
CONCLUSION
Oral folk art (folklore) existed in the preliterate era. Folklore works (riddles, tongue twisters, fables, etc.) were transmitted orally. They memorized by ear. This contributed to the emergence of different versions of the same folklore work.
Oral folk art is a reflection of the life, life, beliefs of ancient people. Works of folk art accompany a person from birth. They contribute to the formation and development of the child.
Our hypothesis was confirmed, with the help of surveys and observation, we found out that there are not so many children's folklore left to this day, but in fact there are a lot of genres.
Russian folklore is the creativity of the people. It contains the worldview of thousands of people who once inhabited the territory of our state. Their way of life, love for the Motherland and their home, feelings and experiences, dreams and upheavals - all this has been passed from mouth to mouth for centuries and gives us a connection with our ancestors.
The heritage of our people is multifaceted and diverse. Conventionally, the genres of Russian folklore are divided into two groups, which include many types: ritual and non-ritual folklore.
ritual folklore
This group of folk creations, in turn, is divided into two categories:
- Calendar folklore- a reflection of the way of life: agricultural work, Christmas carols, Maslenitsa and Kupala rites. Through this genre of Russian folklore, our ancestors turned to Mother Earth and other deities, asking her for protection, a good harvest and grace.
- Family folklore, which described the order of life of each person: the creation of a family and the birth of a child, military service, death. Magnificent songs, funeral and recruiting lamentations - for each event there was a special rite, which gave a special solemnity and mood.
non-ritual folklore
It represents a larger group of folk art works and includes 4 subspecies:
I. Folk drama
- Petrushka Theater - street ironic theatrical performances in the person of one actor;
- crib and religious drama - performances on the theme of the Nativity of Christ and other events.
II. folklore poetry
- Epics: songs-tales that tell about the heroes of antiquity who defended their homeland, their exploits and valor. The bylina about Ilya Muromets and the Nightingale the Robber is one of the most famous. Colorful heroes, colorful epithets and the melodic melody of the narrator draw a vivid image of the Russian hero, a representative of the freedom-loving free people. The most famous are two cycles of Russian epics: and.
- Historical songs describe real events that took place in ancient times. Ermak, Pugachev, Stepan Razin, Ivan the Terrible, Boris Godunov - these and many other great people and their deeds went down not only in history, but also in folk art.
- Chastushka - ironic quatrains, clearly evaluating, and more often ridiculing, life situations or phenomena.
- Lyrical songs are the responses of the common people to events in the political and social life of the state, the relationship between the peasant and the master, the indestructible principles of the peasants' way of life, folk morality. Frequent (dancing) and lingering, daring and beautiful melodic, all of them are deep in content and emotional intensity, forcing even the most callous nature to respond.
III. folk prose
The clearest example familiar to each of us since childhood is fairy tales. Good and evil, justice and meanness, feat and cowardice - everything is intertwined here. And only a pure and open heart of the protagonist is able to overcome all adversity.
IV. Folklore of speech situations.
A very diverse group. Here are proverbs, which are folk aphorisms, and riddles that develop thinking, and children's folklore ( nursery rhymes, pestle, counting rhymes, tongue twisters and others), which helps through play and fun the better development of children.
This is only a small part of the heritage that our ancestors left. Their work has a great cultural value. It does not matter to which particular genre of Russian folklore a particular masterpiece belongs. All of them are united by one common feature - the principles of life are concentrated in each: love, kindness and freedom. That without which the very existence of man is inconceivable.
Small genres of folklore These are small works. Some researchers give them the definition of children's folklore, since such works enter a person's life very early, long before mastering speech.
More about each of them.
Pestushki
cockle- comes from the Russian word "nursing", that is, to nurse, groom, cherish. This is a very short tune of nannies and mothers in poetic form, with which they accompany the actions of the child, which he performs at the very beginning of life.
For example, when a child learns to walk, he is sentenced:
Big feet
We walked along the road:
Top, top, top,
Top, top, top.
small feet
Run along the path:
Top, top, top,
Top, top, top.
nursery rhyme
The next genre is nursery rhyme.
nursery rhyme- this is an element of pedagogy, a sentence song, which necessarily accompanies the game with the fingers, hands and feet of the child. Nursery rhymes, like pestles, are designed to develop a child. Such genres of folklore are presented in their playful form: they are designed to awaken the child to action. On the one hand, this is a massage, on the other - physical exercises. In this genre of children's folklore, incentives are laid for playing up the plot with the help of fingers, palms, hands and facial expressions. Nursery rhymes help the child to instill the skills of hygiene, order, develop fine motor skills of the hands and the emotional sphere. The most famous of them: Ladushki, Magpie.
"Ladushki" (clap your hands on stressed syllables)
Okay, okay, where have you been? By Grandma!
What did they eat? Porridge!
And what did they drink? Brazhka!
Butter bowl!
Sweetie brat!
(Grandma is kind!)
We drank, we ate, sh-u-u-u...
Shuuuu!!! (Home) Let's fly!
Sat on the head! ("Ladushki" sang)
Magpie!
Magpie-crow, (running a finger along the palm)
magpie crow,
I gave it to the kids.
(bend fingers)
I gave this
I gave this
I gave this
I gave this
But she didn't give it:
Why didn't you cut wood?
Why didn't you carry water?
joke
joke(from the word bayat - that is, to tell) - a poetic, short, funny story that a mother tells her child,
For example
Owl, owl, owl,
Big head,
I sat on a stake
looked to the side,
Turned her head.
Proverbs
Proverbs- small forms of folk poetry, dressed in short sayings, carrying a generalized thought, conclusion, allegory with a didactic bias.
Bread is the head of everything.
You can't even pull a fish out of a pond without difficulty.
Seven do not wait for one.
The full is not a friend to the hungry.
Games
There were special songs for the games.
Games could be:
Kissing
As a rule, these games were played at parties and gatherings (usually ended with a kiss between a young guy and a girl).
Ritual
Such songs were characteristic of any ritual, holiday. An example would be carnival festivities (characteristic fun: removing a prize from the top of a pillar, tug of war, competition for agility and strength).
Seasonal
Such games are especially common among children, especially in winter. For example, the game "Warmers". The leader shows the movements, and the rest repeat. There were the same games, as well as "brook" or "collars".
Kissing game example:
Drake
Drake drove the duck,
Young sulfur drove
Go, Duck, go home,
Go home gray
She has seven children
And the eighth Drake,
And the ninth herself,
Kiss me once!
invocations
The next type of small genre of folklore is incantations. One of the types of invocation songs. Such songs are of pagan origin. They reflect the peasant way of life. For example, a rich harvest spell runs through all the songs. For themselves, children and adults asked for health, happiness and wealth. It is also an appeal to the rainbow, the sun and rain, and other natural phenomena. Often turned to animals and birds. Birds were considered harbingers of spring. The forces of nature were revered as living. Usually, people turned to spring with requests, wishing for its speedy arrival, warmth and sun, they complain and complain about winter.
Larks, larks!
Fly to us
Bring us a warm summer
Take the cold winter away from us.
We are tired of the cold winter
Hands, feet frostbitten.
Rhymes
In childhood, before the start of any game, we paid off. In this we were helped by counters. Rhymes are one of the forms of drawing lots, a small rhyme, with the help of which the leader is determined. The counting table is a very important element that helps children avoid quarrels and establish agreement and respect for accepted rules. Rhythm is very important in the organization of counting rhymes.
Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Aty-baty, what did you buy?
Aty-baty, samovar.
Aty-baty, how much does it cost?
Aty-baty, three rubles
Aty-baty, what is he like?
Aty-baty, golden.
Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Aty-baty, what did you buy?
Aty-baty, samovar.
Aty-baty, how much does it cost?
Aty-baty, three rubles.
Aty-baty, who's coming out?
Aty-baty, it's me!
Tongue Twisters
A phrase built on a combination of sounds that makes it difficult to pronounce words. Tongue twisters are also called tongue twisters. Very often they are used to develop diction and speech. Tongue twisters are rhymed and not rhymed.
From the clatter of hooves, dust flies across the field.
Puzzles
The role of riddles is difficult to overestimate. Riddles make children think, look for associations. As a rule, in a riddle, one object is described through another based on the similarity of features:
“A pear is hanging - you can’t eat it.”
The riddle can also be a simple description of the object, for example, "Two ends, two rings, and in the middle there are carnations." The riddle combines the features of both folk fun, and a test of ingenuity, and ingenuity.
Oral folk art existed even in the pre-literate era. Folklore was transmitted orally. They were usually memorized by ear. Small genres of folklore accompany us from birth, they contribute to the development of the child.
Works. Such folk works enter a person's life very early, long before mastering speech.
Encyclopedic YouTube
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✪ Literature 5 (Arkhangelsky A.N.) - Encounters with folklore: small genres.
✪ Riddles - small genres of oral folk art
✪ Literature 5 (Arkhangelsky A.N.) - Encounters with folklore. Folklore - an assistant in the game
Subtitles
Types of small genres of folklore
Lullaby
Lullaby- one of the oldest genres of folklore, as evidenced by the fact that it retained elements of a conspiracy-amulet. People believed that a person is surrounded by mysterious hostile forces, and if a child sees something bad, terrible in a dream, then this will not happen again in reality. That is why in the lullaby you can find the "gray top" and other frightening characters. Later, lullabies lost their magical elements and acquired the meaning of a good wish for the future. So, a lullaby is a song with which a child is lulled to sleep. Since the song was accompanied by the rhythmic swaying of the child, the rhythm is very important in it.
cockle
cockle(from the word to nurture, that is, to nurse, groom) - a short poetic chant of nannies and mothers, with which they accompany the actions of the child, which he performs at the very beginning of his life. For example, when the child wakes up, the mother strokes, caresses him, saying:
Stretches, stretchers,
Across the plump
And grabbers in the hands,
And in the mouth of talkers,
And in the head of the mind.
When a child begins to learn to walk, they say:
Big feet
We walked along the road:
Top, top, top
Top, top, top.
small feet
Run along the path:
Top, top, top, top
Top, top, top, top!
nursery rhyme
nursery rhyme- an element of pedagogy, a sentence song that accompanies the game with the fingers, arms and legs of the child. Nursery rhymes, like pestles, accompany the development of children. Small rhymes and songs allow in a playful way to encourage the child to act, while doing massage, physical exercises, stimulating motor reflexes. In this genre of children's folklore, incentives are laid for playing the plot with the help of fingers (finger games or Ladushki), hands, and facial expressions. Nursery rhymes help to instill in the child the skills of hygiene, order, develop fine motor skills and emotional sphere.
Examples
joke
joke(from play, that is, to tell) - a poetic short funny story that a mother tells her child, for example:
Owl, owl, owl,
Big head,
I sat on a stake
looked to the side,
Turned her head.
Proverbs and sayings
They teach something.
- Road spoon to dinner.
- To be afraid of a wolf, do not go into the forest.
- Birds of a feather flock together.
- You can't even pull a fish out of a pond without difficulty.
- Fear has big eyes.
- The eyes are afraid, but the hands are doing.
- A rolling stone gathers no moss.
- A treasure is not needed if the family is in harmony.
- Don't have 100 rubles, but have 100 friends.
- An old friend is better than two new ones.
- A friend in need is a friend indeed.
- If I knew where you would fall, I would lay straws.
- You lay softly, but sleep hard.
- Motherland is a mother, know how to stand up for her.
- Seven do not wait for one.
- If you chase two hares, you won't catch one.
- The bee is small, but it works.
- Bread is the head of everything.
- Being a guest is good, but being at home is better.
- Feet feed the wolf.
- The work of the master is afraid.
Games
There were special songs for the games. Games could be:
- kissing. As a rule, these games were played at parties and gatherings (usually ended with a kiss between a young guy and a girl);
- ritual. Such games were characteristic of some kind of ritual, holiday. For example, carnival festivities (characteristic fun: removing a prize from the top of a pillar, tug of war, competitions for agility, strength);
- seasonal. Especially common among children, especially in winter. They played the so-called "Warmers": the leader shows any movements, and everyone else repeats. Or traditional "gates" and "brook".
Kissing game example:
Drake
Drake drove the duck,
Young sulfur drove
Go, Duck, go home,
Go home gray
Duck seven children
And the eighth Drake,
And the ninth herself,
Kiss me once!
In this game, "Duck" became in the center of the circle, and "Drake" outside, and played like a game "cat and mouse". At the same time, those standing in a round dance tried not to let the “drake” into the circle.
invocations
invocations- one of the types of exclamatory songs of pagan origin. They reflect the interests and ideas of the peasants about the economy and the family. For example, a rich harvest spell runs through all calendar songs; for themselves, children and adults asked for health, happiness, wealth.
The invocations are an appeal to the sun, rainbow, rain and other natural phenomena, as well as to animals and especially often to birds, which were considered the messengers of spring. Moreover, the forces of nature were revered as living: they turn to spring with requests, wish it to come soon, complain about the winter, complain.
Larks, larks!
Fly to us
Bring us a warm summer
Take the cold winter away from us.
We are tired of the cold winter
Hands, feet frostbitten.
Rhythm
Rhythm- a small rhyme, a form of drawing of lots, with the help of which it is determined who drives in the game. The counting room is an element of the game that helps to establish agreement and respect for the accepted rules. In organizing a counting rhyme, rhythm is very important. He sees a Greek: there is cancer in the river,
He put his Greek hand into the river -
Cancer by the hand of the Greek - DAC!
The bull is stupid, the bull is stupid, the bull's lip was white and dull.
From the clatter of hooves, dust flies across the field.
Mystery
Mystery, like a proverb, is a brief figurative definition of an object or phenomenon, but unlike a proverb, it gives this definition in an allegorical, deliberately obscured form. As a rule, in a riddle one object is described through another based on similar features: “A pear is hanging - you can’t eat it” (lamp). The riddle can also be a simple description of the object, for example: “Two ends, two rings, and in the middle there are carnations” (scissors). This is both folk fun and a test of ingenuity and ingenuity.
The role of riddles and jokes was also played by fables-shifters, which for adults appear as absurdities, but for children - funny stories about what does not happen, for example:
Because of the forest, because of the mountains
Grandpa Egor is coming.
He is on a gray wagon,
On a creaky horse
Belted with an ax
The belt is tucked into the waist
Boots wide open
Zipun on bare feet.
General history
Oral folk art (folklore) existed in the preliterate era. Folklore works (riddles, tongue twisters, fables, etc.) were transmitted orally. They memorized by ear. This contributed to the emergence of different versions of the same folklore work.
Oral folk art is a reflection of the life, life, beliefs of ancient people. Works of folk art accompany a person from birth. They contribute to the formation and development of the child.
